Jackie Chan Bridging Borders Offscreen
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New Line Cinema, Jackie Chan, and the Anatomy of an Action Star Jesse
New Line Cinema, Jackie Chan, and the Anatomy of an Action Star Jesse Balzer A Thesis in the Mel Hoppenheim School of Cinema Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Film Studies) at Concordia University Montreal, Quebec, Canada April, 2014 © Jesse Balzer 2014 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Jesse Balzer Entitled: New Line Cinema, Jackie Chan, and the Anatomy of an Action Star and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Film Studies) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Read and approved by the following jury members: Charles Acland External Examiner Marc Steinberg Examiner Haidee Wasson Supervisor Approved by April 14, 2014 Catherine Russell Date Graduate Program Director April 14, 2014 Catherine Wild Date Dean of Faculty Balzer iii ABSTRACT New Line Cinema, Jackie Chan, and the Anatomy of an Action Star Jesse Balzer Jackie Chan’s Hollywood career began in earnest with the theatrical wide release of Rumble in the Bronx in early 1996 by independent studio New Line Cinema. New Line released two more Chan films – Jackie Chan’s First Strike (1997) and Mr. Nice Guy (1998) – after they were acquired by the media conglomerate Time Warner. These three films, originally produced and distributed by the Golden Harvest studio in Hong Kong, were distributed and marketed by New Line for release in North America. New Line reedited, rescored, and dubbed these films in order to take advantage of the significant marketing synergies of their conglomerate parents at Time Warner. -
Va.Orgjackie's MOVIES
Va.orgJACKIE'S MOVIES Jackie starred in his first movie at the age of eight and has been making movies ever since. Here's a list of Jackie's films: These are the films Jackie made as a child: ·Big and Little Wong Tin-Bar (1962) · The Lover Eternal (1963) · The Story of Qui Xiang Lin (1964) · Come Drink with Me (1966) · A Touch of Zen (1968) These are films where Jackie was a stuntman only: Fist of Fury (1971) Enter the Dragon (1973) The Himalayan (1975) Fantasy Mission Force (1982) Here is the complete list of all the rest of Jackie's movies: ·The Little Tiger of Canton (1971, also: Master with Cracked Fingers) · CAST : Jackie Chan (aka Chen Yuen Lung), Juan Hsao Ten, Shih Tien, Han Kyo Tsi · DIRECTOR : Chin Hsin · STUNT COORDINATOR : Chan Yuen Long, Se Fu Tsai · PRODUCER : Li Long Koon · The Heroine (1971, also: Kung Fu Girl) · CAST : Jackie Chan (aka Chen Yuen Lung), Cheng Pei-pei, James Tien, Jo Shishido · DIRECTOR : Lo Wei · STUNT COORDINATOR : Jackie Chan · Not Scared to Die (1973, also: Eagle's Shadow Fist) · CAST : Wang Qing, Lin Xiu, Jackie Chan (aka Chen Yuen Lung) · DIRECTOR : Zhu Wu · PRODUCER : Hoi Ling · WRITER : Su Lan · STUNT COORDINATOR : Jackie Chan · All in the Family (1975) · CAST : Linda Chu, Dean Shek, Samo Hung, Jackie Chan · DIRECTOR : Chan Mu · PRODUCER : Raymond Chow · WRITER : Ken Suma · Hand of Death (1976, also: Countdown in Kung Fu) · CAST : Dorian Tan, James Tien, Jackie Chan · DIRECTOR : John Woo · WRITER : John Woo · STUNT COORDINATOR : Samo Hung · New Fist of Fury (1976) · CAST : Jackie Chan, Nora Miao, Lo Wei, Han Ying Chieh, Chen King, Chan Sing · DIRECTOR : Lo Wei · STUNT COORDINATOR : Han Ying Chieh · Shaolin Wooden Men (1976) · CAST : Jackie Chan, Kam Kan, Simon Yuen, Lung Chung-erh · DIRECTOR : Lo Wei · WRITER : Chen Chi-hwa · STUNT COORDINATOR : Li Ming-wen, Jackie Chan · Killer Meteors (1977, also: Jackie Chan vs. -
Video Killed the Martial Arts Star: Distribution Technologies and the Vagaries Of
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Humanities Commons Video Killed the Martial Arts Star: Distribution Technologies and the Vagaries of Jackie Chan Fandom in Japan (Paper presented at the Cult Cinema and Technological Change Conference, Aberystwyth University (Wales), April 15, 2014) Jackie Chan has been synonymous with Hong Kong cinema amongst mainstream Japanese moviegoers since he first appeared on movie screens in the late 1970s. Indeed, his popularity in 1980s Japan was such that apocryphal tales of his rabid Japanese female fan base punctuated Western reporting on the star in the 1990s, which seamlessly enfolded them in pre-existing media discourses of female fan hysteria. Thus, it is ironic that by the end of the 1980s, on the cusp of a widely reported, if niche, phenomenon of Japanese female fandom of Hong Kong stars, Chan had been all but relegated to the periphery of Hong Kong film fandom in Japan. This paper examines the rise and fall of Jackie Chan's star (persona) among Japanese female fans. In particular, I consider the ways that changing technologies and patterns of Hong Kong film consumption in Japan exposed fans to new stars and films, effectively sidelining Chan in the process. Only four Hong Kong films had received theatrical release in Japan prior to Bruce Lee’s arrival on Japanese screens in late 1973. To a film, these movies failed to make any lasting impression on Japanese audiences, the result of Japanese filmgoers’ indifference to films outside the Japan/Hollywood binary.1 This changed with the release of Bruce Lee’s Enter the Dragon in December 1973. -
ジャッキー・チェン、ツイ・ハーク、ジョニー・ト ー( Dissertation 全文 )
1980-90年代の香港映画産業における俳優と監督の境界線 Title ――ジャッキー・チェン、ツイ・ハーク、ジョニー・ト ー( Dissertation_全文 ) Author(s) 雑賀, 広海 Citation 京都大学 Issue Date 2020-03-23 URL https://doi.org/10.14989/doctor.k22529 Right 許諾条件により本文は2020-12-31に公開 Type Thesis or Dissertation Textversion ETD Kyoto University 1980-90 年代の香港映画産業における俳優と監督の境界線 —ジャッキー・チェン、ツイ・ハーク、ジョニー・トー— 雑賀広海 序論 .......................................................................................................................................... 3 第 1 部 ジャッキー・チェン ............................................................................................... 11 第 1 章 父と子、監督と俳優 ............................................................................................ 11 1. 『笑拳怪招』製作までの背景.................................................................................. 12 2. 独立プロダクションとコミカル・カンフーの登場 ................................................. 14 3. 『蛇形刁手』『醉拳』における父子関係 ................................................................. 17 4. 『笑拳怪招』における父子関係 .............................................................................. 20 5. 父と子、あるいは監督と俳優.................................................................................. 22 第 2 章 ハードボディから離れて .................................................................................... 25 1. 人種/セクシュアリティ ......................................................................................... 27 2. 身体/マスキュリニティ ......................................................................................... 31 3. ハリウッド・アクション・ヒーロー ...................................................................... -
Jackie CHAN 成龍(B
Jackie CHAN 成龍(b. 1954.4.7) Actor, Director, Executive Producer, Producer A native of Qingdao, Shandong, Chan was born in Hong Kong with the original name Chan Kong-sang. He entered the Hong Kong-China Opera Institute ran by Yu Zhanyuan at age seven to learn Peking opera and kung fu. His stage name was Yuen Lau and became part of the performance group ‘Seven Little Fortunes’, along with Sammo Hung and Yuen Biao. He made his first foray into acting with the film The Seven Little Valiant Fighters (1962). As he entered adulthood, he worked as an actor and martial arts choreographer under the stage name Chan Yuen-lung in Golden Harvest (HK) Limited’s films, such as All in the Family (1975) and Hand of Death (1976). Afterwards he left the film industry and went to Australia. In 1976, he signed a contract with Lo Wei’s company and took the stage name Jackie Chan. After starring in kung fu titles such as New Fist of Fury (1976), Shaolin Wooden Men (1976) and Spiritual Kung Fu (1978), he rose to worldwide fame with kung fu comedies Snake in the Eagle’s Shadow (1978) and Drunken Master (1978), both directed by Yuen Woo-ping. Following The Fearless Hyena (1979), his film as a director, writer and actor, Chan began working on his first feature for Golden Harvest—The Young Master (1980) earned over HK$10 million and broke local box-office records. Battle Creek Brawl (1980), a Golden Harvest film produced in America, successfully grabbed the attention of international audiences. -
Hong Kong Filmmakers Search: Edward Tang
Edward TANG 鄧景生(b. 1946.5.17) Screenwriter, Planning Producer A native of Zhongshan, Guangdong, Tang was born in Macao. He came to Hong Kong in 1963, and worked as a mariner, technician and salesman. He enrolled in the screenwriting course of Television Broadcasts Limited (TVB) in the 1970s, and was hired by the company as a screenwriter upon graduation. Later, he switched to work at Commercial Television, which closed down in 1978. Since then, he followed Lau Tin-chi and joined Golden Harvest (HK) Limited, penning The Magnificent Butcher (1979) and Wedding Bells, Wedding Belles (co-written by Joyce Chan, 1981), etc. A long-time working partner of Jackie Chan, Tang was the screenwriter and assistant director for The Young Master (1980), Dragon Lord (1982) and Project A (1983), all directed by Chan. In 1985, Chan’s production company, Authority Films Ltd. was restructured as Golden Way Films Ltd. The company produced many huge productions, which include Police Story (1985), Armour of God (1987), Project A II (1987), Police Story II (1988), Mr. Canton and Lady rose (aka Miracles, 1989), and Armour of God II – Operation Condor (1991), all coordinated and partially scripted by Tang. He also worked as the production coordinator for other directors’ projects, such as That Enchanting Night (1987), Rouge (1988), The Inspector Wears Skirts (1988) and its sequel (1989), Stage Door Johnny (1990) and The Shootout (1992). Tang has also penned lyrics for film songs; ‘Rouge’, the eponymous song to the film (composed by Michael Lai and sang by Anita Mui), has been one of his most crowd-pleasing pieces. -
The Politics of Images: Chinese Cinema in the Context Of
THE POLITICS OF IMAGES: CHINESE CINEMA IN THE CONTEXT OF GLOBALIZATION by HONGMEIYU A DISSERTATION Presented to the Comparative Literature Program and the Graduate School ofthe University of Oregon in partial fulfillment ofthe requirements for the degree of Doctor ofPhilosophy June 2008 11 University of Oregon Graduate School Confirmation of Approval and Acceptance of Dissertation prepared by: Hongmei Yu Title: "Politics ofImages: Chinese Cinema in the Context of Globalization" This dissertation has been accepted and approved in partial fulfillment ofthe requirements for the Doctor ofPhilosophy degree in the Department of Comparative Literature by: Tze-lan Sang, Chairperson, East Asian Languages & Literature David Leiwei Li, Member, English Janet Wasko, Member, Journalism and Communication Daisuke Miyao, Outside Member, East Asian Languages & Literature and Richard Linton, Vice President for Research and Graduate Studies/Dean ofthe Graduate School for the University of Oregon. June 14, 2008 Original approval signatures are on file with the Graduate School and the University of Oregon Libraries. iii © 2008 Hongmei Yu IV An Abstract ofthe Dissertation of Hongmei Yu for the degree of Doctor ofPhilosophy in the Comparative Literature Program to be taken June 2008 Title: THE POLITICS OF IMAGES: CHINESE CINEMA IN THE CONTEXT OF GLOBALIZATION Approved: _ Dr. Tze-Ian Sang This dissertation explores the interaction between filmmaking and the changing exigencies ofleftist political ideologies in China at different stages ofmodernity: semi colonial modernity, socialist modernity, and global modernity. Besides a historical examination ofthe left-wing cinema movement in the 1930s and socialist cinema in the Mao era, it focuses on the so-called "main melody" films that are either produced with financial backing by the state or sanctioned by governmental film awards in 1990s China. -
An Augmented Reality Game for Action Movie Fans
AN AUGMENTED REALITY GAME FOR ACTION MOVIE FANS Name: Bart Nie ID: 03509835 Course: WNM 643 (Fall 2017) Instructor: Changying Zheng TABLE OF CONTENTS 1. INTRODUCTION 4. VISUAL DESIGN Introduction 02 The Logo 28 The Goal 03 Color & Typeface 29 2. MARKETING RESEARCH 5. THE PRODUCT Interview 1 05 The Product 31 Interview 2 09 Prototype 32 Card Sorting 12 A/B Testing 33 Competitive Analysis 13 Demonstration 35 Competitors Matrix 14 Technical Research 15 3. TARGET AUDIENCE 6. REFERENCES Target Audience 17 Image Source 36 Presona: Natalie Morgan 18 Article Source 42 Presona: Jimmy Tang 20 Presona: Edward James 22 User Flow 1 24 User Flow 2 25 User Flow 3 26 01 INTRODUCTION PROBLEM SOLUTION Jackie Chan is a worldwide famous comedy martial As a big movie fan and a designer, I will create an intera- art actor, with his iconic fighting style and memorable ctive program about Jackie Chan and his phenomenal comedy scenes. However, by the time pass, only few movies to raise the awareness and bring enjoyable and young adults know him and have watched his movie. remarkable experience for younger generations. 02 THE GOAL HOW MIGHT WE PROVIDE AN INTERACTIVE EXPERIENCE FOR ACTION MOVIE FANS? 03 MARKETING RESEARCH INTERVIEW 1 GENDER DISTRIBUTION AGE DISTRIBUTION (TOTAL NUMBER OF INTERVIEWEE: 47) 20 15 10 05 MALE FEMALE 59.6% 40.4% AGE: AGE: AGE: AGE: 21-25 26-30 31-35 35+ NUMBER OF MOVIE WAY TO WATCH MOVIE WATCHED PER MONTH IN THEATER 1-2 20.4% 31.1% 3-5 38.5% 6-9 16.6% AT HOME 68.9% 10+ 22.5% 05 INTERVIEW 1 APPEAL THE MOST IN A MOVIE STORY ACTING DIRECTOR 31.5% 26.8% 19.6% FRUSTRATE THE MOST IN A MOVIE DIALOGUE EFFECTS EDIT 25.7% 21.4% 12.7% 06 INTERVIEW 1 TOP 3 THE MOST FAVORITE MOVIE TYPE ACTION COMEDY SCI-FI 58.6% 51.1% 39.5% TOP 3 THE LEAST FAVORITE MOVIE TYPE MUSICAL HORROR ROMANCE 10.3% 11.4% 17.9% 07 INTERVIEW 1 KEYWORD HIGH LIGHTS: Popular movie type: ACTION MOVIES Most focus part in movie: STORY Movie fan needs: PARTICIPATION, INTERACTION WAHT KIND OF EXPERIENCE ABOUT A MOVIE YOU WOULD LIKE TO HAVE IN THE FUTURE? ".. -
Hong Kong's Cultural Identity Reflected in Jackie Chan's Films
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2009 Hong Kong's cultural identity reflected in Jackie Chan's films. Yajuan Ding 1969- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Ding, Yajuan 1969-, "Hong Kong's cultural identity reflected in Jackie Chan's films." (2009). Electronic Theses and Dissertations. Paper 352. https://doi.org/10.18297/etd/352 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. HONG KONG'S CULTURAL IDENTITY REFLECTED IN JACKIE CHAN'S FILMS By Yajuan Ding M.A., University of Science and Technology Beijing, 2002 A Dissertation Submitted to the Faculty of the Graduate School of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Department of Humanities University of Louisville Louisville, Kentucky August 2009 Copyright 2009 by Yajuan Ding All rights reserved HONG KONG'S CULTURAL IDENTITY REFLECTED IN JACKIE CHAN'S FILMS By Yajuan Ding M.A., University of Science and Technology Beijing, 2002 A Dissertation Approved on July 28, 2009 By the following Dissertation Committee: Dissertation Director ii DEDICATION This dissertation is dedicated to my parents, Mr. Jifa Ding and Mrs. -
Jackie Chan | Whistlekickmartialartsradio.Com
Episode 58 – Jackie Chan | whistlekickMartialArtsRadio.com Jeremy Lesniak: Hey, there, everyone its episode 58 of whistlekick Martial Arts Radio, the only place to hear the best conversations about the martial arts, like today’s episode all about Jackie Chan. I'm the founder here at whistlekick, but I’m better known as your host, Jeremy Lesniak. whistlekick, in case you don’t know, makes the world's best sparring gear and some awesome apparel and accessories for you traditional martial artists. I'd like to welcome our new listeners and thank all of you returning fans. If you're not familiar with our products, you can learn more about our them at whistlekick.com. All of our past podcast episodes, show notes and a lot more are at whistlekickmartialartsradio.com. Today’s episode also has a full transcript with photos, videos and links on the website. And while you're over there, go ahead and sign up for our newsletter. We offer exclusive content to subscribers and it's the only place to find out about upcoming guests. Let’s talk about Jackie Chan. I was reading some news the other day and there was a story about a bus explosion that concerned people in London. Turns out, the explosion was part of a Jackie Chan movie, and that’s when I realized, we haven’t done a profile on Jackie Chan yet. So here it is! Episode 58 – Jackie Chan | whistlekickMartialArtsRadio.com Jackie Chan was born in 1954 to a very poor family, which makes him 61 now. He was 12 pounds, so big that his mother had to give birth via C-section. -
Columbia Pictures Film Production Asia
Presents KUNG FU HUSTLE Written by, Directed by and Starring Stephen Chow China/Hong Kong, 95 mins Distribution: Press: Mongrel Media Bonne Smith 1028 Queen Street West Star PR Tel: 416-516-9775 Tel: 416-488-4436 Fax: 416-516-0651 Fax: 416-488-8438 E-mail: [email protected] [email protected] www.mongrelmedia.com Brief Synopsis Set amid the chaos of pre-revolutionary China, small time thief, Sing, aspires to be one of the sophisticated and ruthless Axe Gang whose underworld activities overshadow the city. Stumbling across a crowded apartment complex aptly known as “Pig Sty Alley,” Sing attempts to extort money from one of the ordinary locals, but the neighbors are not what they appear. Sing’s comical attempts at intimidation inadvertently attract the Axe Gang into the fray, setting off a chain of events that brings the two disparate worlds face-to-face. As the inhabitants of the Pig Sty fight for their lives, the ensuing clash of kung fu titans unearths some legendary martial arts Masters. Sing, despite his futile attempts, lacks the soul of a killer, and must face his own mortality in order to discover the true nature of the kung fu master. Credits Cast Sing…………………………………………………………………..STEPHEN CHOW Landlord……………………………………………………………………YUEN WAH The Beast………………………………………………………….LEUNG SIU LUNG Donut……………………………………………………………………DONG ZHI HUA Tailor…………………………………………………………………….CHIU CHI LING Coolie……………………………………………………………………………XING YU Brother Sum……………………………………………………...CHAN KWOK KWAN Sing’s Sidekick……………………………………………………...LAM TZE CHUNG Axe Gang Advisor………………………………………………………...TIN